THE AMERICA N-SCA NDINA VIA N RE VIE W 
545 
Stockholm, however interested in drama the inhabitants may be, and 
during the present economic crisis most of the theatres have had to 
struggle alo% under great difficulties. The national theatres have for 
a long time operated at a loss; Director Ranft alone, owing to his 
extensive organization and by means of the large receipts earned during 
the profitable years, has been able to continue his activities without out¬ 
side assistance. 
About twenty years ago Swedish dramatic art was on a very high 
level and counted among its artists men like the excellent stage man¬ 
ager Gustaf Fredriksson, who unfortunately, however, prepared the 
way for French comedy and farce on the Swedish stage to the detri¬ 
ment of the great drama. The cast comprised men like Emil Hillberg, 
unsurpassable as a character actor; Anders de Wahl, a fiery and ardent 
lover; Tore Svennberg of an impressive manliness; Nils Personne, a 
highly cultivated comedian; Gerda Lundequist, a great tragedienne; 
Julia Hakansson, the finest impersonator of the modern woman on 
the Swedish stage; Astri Torsell, a mild and gentle type; Harriet 
Bosse (Strindberg’s third wife) bizarre and almost exotic, besides a 
number of others. But when a new era in the drama dawned, the 
leading talents who should have established their repertoire, and the 
stage managers who should have led the drama and its interpreters 
to still greater victories, were not forthcoming. New problems in 
stage technique, in lighting and decorative effects, arose to which no 
solution was found, and for a much too long period chaotic conditions 
reigned within the theatre. Some attempts were made toward a 
super-modern staging, and again others to continue the most hope¬ 
lessly old-fashioned systems; fumbling experiments were tried in the 
most varied directions: for instance a realistic play would be staged 
with fantastic decorations, while the acting was naturalistic. At times 
a bold attempt would be made toward a complete renewal in costumes, 
but the change would not be carried through in the decorations; at 
other times one act of a spectacular play would be elaborately staged, 
while the other acts would be lacking in this respect. On certain oc¬ 
casions outside experts would be called upon to undertake the staging 
of a play, but the success was doubtful and the expense greater than 
would ever have been granted to the theatre’s own artists. Splendid 
performances alternated with the most lamentable dilettantism; there 
was no longer harmony in the productions, and when thereto came that 
the film nourished the public’s weakness for star performances, the 
terminating point had been reached in a development which could 
only exist in a period rich in capital accumulated during the war but 
entirely void of artistic judgment. The disruption on so many stages 
among the best artists had already hindered the creation of a harmoni¬ 
ous ensemble and, tempted by high salaries offered by film companies, 
the foremost actors no longer desired regular work with one theatre 
